mardi 31 mai 2016

Source The Hindu bay Shailaja Tripathi
A self-taught artist, Madhvi is showing in Bengaluru after such a long gap that she doesn’t even remember her last show here. In the 80’s Nalini Malani (one of the most significant names in new media art) drew up a list of women artists and finally zeroed in on Nilima Sheikh, Arpita Singh, Madhvi and herself to come together for a series of exhibitions in different cities. Today these are one of the most seminal names in the field of contemporary Indian art. In 2010 came A World of Memories, her first book published by Penguin Studio which comprised some of the best works from different periods of her artistic career like “Village Opera” and “Biography of My Neighbour-II”. Madhvi grew up in a small village, Sanjay in Gujarat amidst nature, folklore and rituals to which art was intrinsic.
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Publié par
Herve Perdriolle

samedi 28 mai 2016

Source FirstPost by Vrushal Pendharkar
Finding My Way is a beautiful work of art and stories by the Pradhan Gond artist Venkat Raman Singh Shyam and writer and publisher of Navayana, S Anand. They come from completely different backgrounds forming a sonorous confluence where it is difficult to tell where Venkat's voice begins and Anand's voice ends. It is part-autobiography, part-narrative of an individual, a community, an art, a society, folk-mythology, life, all wonderfully illustrated by Venkat and powerfully narrated by Anand without any numbers to the pages.
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Publié par
Herve Perdriolle

vendredi 27 mai 2016

Source The Guardian by Amit Chaudhuri
Naive nude figures, provocative kitsch, vibrant urban scenes … a major exhibition of Khakhar’s paintings at Tate Modern shows why the accountant from Bombay became a liberating force in Indian art. Bhupen Khakhar was born in Khetwadi in Bombay in 1934. His father was an engineer, and he died when Khakhar was still a child. Whenever I read Khakhar’s biographical details – he died in 2003 – I stop short at “Khetwadi”, where a Gujarati tailor my mother courted for his skill at making perfect blouses lived and worked in a room by a bridge. Khetwadi didn’t fit in with my idea of Bombay. Although it was notionally in South Bombay (the term didn’t exist when I was growing up, and now denotes the richest urban setting in India), it was distinct from it, as were the bazaar localities beyond Nana Chowk and Grant Road. Khetwadi was a small town in a big city...
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Source The Economic Times by Masoom Gupte
The decision of putting up the painting for auction was taken to ensure their collection's perpetuity. Proceeds of the sale will go to the Savara Foundation of Arts (SFA), founded by Savara, Roohi and his brother, Rahul. "It was a very emotional decision for us. It really was a question of which baby to chuck in the sea," Savara said. But the couple also understood the importance of putting up a serious, large format work for auction, as the idea was to raise a substantial corpus for the foundation. "If we are going to go through the pain of separation (with the painting), then it is our hope to raise sufficient funds (for our vision)," he added.
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lundi 16 mai 2016

Source Blouin Art Info by Archana Khare Ghose
On May 26, alongside the high-profile auction of South Asian Modern and Contemporary Indian Art by Christie’s at King Street, London, will take place another India-related sale. Titled “Arts of India,” it’s a fantastic collection of 118 lots from the late 16th century to the late 19th century. The majority of the lots comprises miniature paintings from almost all schools of the genre that flourished in this time span under different rulers, including the Mughals. These include the Pahari School, with works from Mandi, Chamba, Garhwal, Kangra, Basholi; and the schools that thrived in the plains of north, central and west India at Lucknow, Gwalior, Bundi, Datia, Mandla, Panna, Jodhpur, Jaipur, and Udaipur. From the later period are the paintings of the Company School, the Calcutta School, and the Kalighat Paintings.
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Publié par
Herve Perdriolle

samedi 14 mai 2016

Source Business Standard by Geetanjali Krishna
Finding My Way is a hard book to put down even for the most blase of readers, although some might wish it had been more tightly edited, with fewer disjointed digressions from autobiographical anecdotes to sometimes incomprehensible Gond philosophy to Kabir's poetry (albeit beautifully translated). Adding to the lack of temporal progression is the fact that the pages are not numbered. It is almost as if a reader can randomly open the book on any page, and read on. It must be said, though that, through this hodgepodge, the honesty and simplicity of the artist and the Gond people comes through beautifully. As a visual autobiography, Finding My Way offers a glimpse into the unseen lives of the Gond people, shedding light on the plight of forest dwellers and the price they pay for development and commerce. But what really shines throughout the book is a celebration of different ways of seeing - and the author/artist's quiet confidence that India's folk artists have stories worth telling, songs worth listening to, and canvases that need to be painted for a wider audience.
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Publié par
Herve Perdriolle

jeudi 12 mai 2016

Source StreetArtNews by Christie BaileyWhat was the relationship between the artists and the resident community? I mean, what’s the people’s reaction to a peaceful artistic invasion? Was amazing. Very supportive even when perhaps we were creating some noise with the cranes working also till late at night. Many people have been contributing in different ways, offering chai, the Indian tea, their houses for water and facilities, or their shops to keep paints and materials. The warmest and most loyal reaction was by the kids of the close slum and of the colony were always with us, helping out in needs such as going to grab water, washing the brushes and buckets and simply hanging around and making a lot of noise! I think everyone, aside from personal preferences on the pieces, is very happy and proud to have become a sort of famous spot in the city attracting journalists, cameras and people from other parts of Delhi and the world.
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Publié par
Herve Perdriolle

lundi 9 mai 2016

Source India Link by Vish Chilumkurti
The Queensland Gallery (QGOMA) concluded last month the eighth edition of Asia Pacific Triennial of Contemporary Art (APT 8) which began in November last year. This year, the focus was on artists from Asia, the Pacific and Australia. It centred on recent work in performance art, video, kinetic art and figurative painting and sculpture, with themes encompassing the cultural, the social as well as the political. One of the main attractions of this exhibition was the collection of contemporary art from India titled Kalpa Vriksha. This is a term which symbolises the divine wish-fulfilling tree from Hindu mythology.
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Publié par
Herve Perdriolle

dimanche 8 mai 2016

Source The Economic Times by Charmy Harikrishnan
He sits across me, in a white shirt patterned with green sprigs of leaves and brown trousers. He has an iPhone in his pocket, a tiny gold ring on his right ear, a sun tattoo on his hand and a Xylys watch on his wrist. Venkat Raman Singh Shyam leans forward, a tuft of hair falling on his forehead, his big eyes going wider in part bewilderment and part indignation, and says: "People tell me, 'Oh you don't look like a Gond artist.'" What should a Gond artist look like? What should Gond art look.
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Publié par
Herve Perdriolle

Publié par
Herve Perdriolle

samedi 7 mai 2016

Source Artsy by Marina Cashdan and Casey Lesser
For their quietly impressive booth in the Spotlight section, Mumbai gallery Jhaveri Contemporary collaborated with the estate of Zahoor ul Akhlaq to show the late pioneering Pakistani artist’s paintings and a sculpture. The artist is a major influence on miniature painting and contemporary Pakistani artists. Zahoor’s paintings on view, from the late 1980s and ’90s, evidence a confluence of the traditions of 17th-century Mughal and Persian paintings, which he studied while in school in London in the 1960s, with the leading western art movements happening that time—namely pop art and color field painting.
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Source E-flux
The Kochi-Muziris Biennale is pleased to announce the first list of artists who will be part of its third edition, opening on December 12, 2016. The Biennale, which will run for 108 days, from December 12, 2016 until March 29, 2017, is the largest and longest contemporary art biennial in South Asia. The main exhibition and an ancillary programme of talks, seminars, workshops, film screenings, and music will take place across a range of venues in Fort Kochi and Ernakulam, in Kochi, Kerala, a state on India’s southwestern coast.
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This newsletter posted by Hervé Perdriolle in October 2007, tracks the news of the Indian Contemporary Art through an international press review regularly updated.Since 2008 more than 1.800 press articles listed - 145.000 pages viewed.